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Sci-fi Novel - The Dream Artist - Part 7

"I don't think he's a big deal in this research, though he has the arrogance of knowing what we don't know."

"It is interesting that such a formidable personality was the closest to the country's most famous artist,"

The android that came out the stairs asked if we had a wish.

"How many years you've been working here," Peri asked.

"I have been serving the master for three years, my name is Marlo," said the elite android.

"How long have you known Galip Salik?"

"He was here when I came," said Marlo.

"He says he was the assistant of the master, is he really that close?"

"More than an assistant," said Marlo. "Would you like something to drink?" It was apparent that Marlo was an expensive, specially crafted android.

I said, "I want a Turkish coffee with little sugar."

"I'll ask for a filter coffee," said Peri.

We sat the armchairs right in front of the railing and drank our coffees. From here, the inside of the building could be seen as if it were looking from a balcony. The view we saw was impressive. Once the building was not three floors as seen from the outside.

“The layers can be deployed halfway down or up in a way similar to the musical notes," said Peri.

They made a building like a Rubik's Cube. They left an essential part of the volume blank for the rooms to change horizontally or vertically. Some of the places had a rectangular prism form by the combination of two cubes, and with the possibility to move up or down a half-fold, provided too much variety of space. Connecting the right room to the other on the right floor through a door or staircase required a severe adjustment. I remembered the childhood games where I changed the squares. Creating the desired images was not an easy task. When the height dimension was added, the solution to the problem becomes more complicated, requiring a severe central control software to avoid an accident. The rooms could be used individually or chained. When the appropriate positioning was achieved, a door opened between the rooms, or the stairs were lowered if there was a difference in height.

"A building suitable for nightmares," said Peri.

"In time, maybe the rooms are learning how to change places and how they create different places."

"I don't think so. There must be an algorithm that generates random movements. It's good to have the ceilings made out of the glass, so we can see what's happening in the rooms that correspond to the top. From time to time the color of the walls is also changing."

"I do not doubt that monsters are appearing in the walls, making strange noises like fear tunnels in the luna parks. There are thousands of people who are thinking of publishing an interesting dream to the hypernet, but it's hard to see an interesting dream every night. Many remarkable experiences are needed during the day, and there is no guarantee that these experiences will be reflected in the dream. Dream artists have to be sensitive people by their profession. The more sensitive they are, the easier it is for them to distinguish between nuances in experiences, sounds, images or emotions. It creates emotional tension to endure when the requirement to publish a dream daily is added."

"You think the dream artist committed suicide," said Peri, who now stood up and started walking in front of the railing.

"We don't have a clue that requires us to think he committed suicide."

"As I recall, suicide was not in the top five list among the death statistics of dream artists," said Peri gathering her yellow hair on her neck and straightening it out.

"Dream artists must have a vibrant life. They must be in different places, be with different people, and take a lot of risks that the levels of adrenaline will be higher. It is essential to settle the seeds of possible dreams."

"Can't the subconscious seed safely settled at home using simulation systems?"

“Rather than being a witness, living is helping to create strong emotions that can create a dream, as I understand it,” I said.